Merciless transcriptions of a personal tormented journey in the most anaesthetized parts of human nature ("emerging from the darkness/clawing from the inside/it whispers in my ear/and tells me/what I must do/and who I must become/to find my way/to find the answer", so says the initial song "No Control"), sung through brutishly distorted cries, which look like duetting with what seems to be the (mostly robotic or spectral) malicious voice of conscience (particularly in songs like "Solitude", "Empty" or "Broken Glass" - the one I musically prefer of the whole album -) or some other foreign body turned into interlocutor/defier (just like it happens in the fierce clattering of "The Machine" focusing on the controversial relation between man and machines, in the woebegone lacerations of "Now You Know", in the piercing lyrics inspired from fresh and pulsating scars of "Meaningless"), a gruelling and anguishing exploration ("was it all for nothing?/it was not supposed to be like this/gasping for air/reaching for the answer/each step becomes more terrifying" words echoed by the above-mentioned second voice with the distraught realization "I'm so tired, I'm tired of trying, I'm tired of the walls, the lies, the fear" in the song "The Edge") which couldn't be but by the disquieting lack of aptitude in understanding other people by society, whose main concern seems to be the blind and constant demonstration of a feigned well-being as suggested by dark humour-tinged sociopath lyrics of "More Interactions With People", written and performed by It-Clings, artistic identity of Squid, the founder of Bugs Crawling Out Of People, the label which supports this release by Death Of Self, whose final moral and enfranchisement have been celebretade in the final song "Realizations", where DOS furiously replies "never mind morality/never mind right or wrong/never mind conscience /never mind insecurity" when the pitched voice ask "so, what have we learned?". Even if it's based on personal experiences of the musician, I don't discard the possibility some listeners could personify or symphatize with one of the two interlocutors due to the gradual involvement in this inner battle. The unwinding of this livid plot runs on punching beats, piercing acute sounds, rough and oscure synth-brass sections as well as many hooks taken from new EBM and electro-industrial canons, which immediately grabbed the attention of this Canadian "bug-busters", which could bet on the possibility "Embracing The Things We Hate About Ourselves" is going to grab attention of many fans of the genre.